From flamencophobia to flamencology.
During the throes of Restoration and the start of the Civil War (1875-1936) Spain became reticent to the art of flamenco. Most dominant social currents argued against it: the countries' elites didn't appreciate flamenco -a music linked to Gipsy culture and the lower strata- representing internationally their national identity, the working class' revolutionaries criticized flamenco for exploiting social poverty, the Catholic church posited that flamenco's acquired condition of "mass-entertainment" led to the dissolution of both family lives and patriotism, the back-then intellectuals saw it as a brake to social progress...
After all, flamenco was for many the scapegoat upon which to cast the discontent of many ideological and structural changes, old and new. But when such a turmoil ended, in the 50s, flamenco started being acclaimed as more than an entertainment and anthropological, as well as musical, studies about it started to crop up. At this point, too, the first flamenco competitions and contests were established and the first "Chair of Flamencology" was founded in Jerez de la Frontera.
Thus flamenco started acquiring the status it has today, with solid social bases and collectives ready to defend it outside the dancing stage.